DOCSLIB.ORG

Live from Covent Garden Announcement 19.06.20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Live from Covent Garden Announcement 19.06.20 19 June 2020 #OurHouseToYourHouse The Royal Opera House announces Live from Covent Garden, Saturday 27 June The Royal Opera House is delighted to continue its #OurHouseToYourHouse programme of online broadcasts, musical masterclasses and cultural highlights, created for audiences across the globe. As we look forward to the second in the series of three Live from Covent Garden concerts this Saturday, the Royal Opera House is proud to announce the programming for the third concert on Saturday 27 June at 7.30pm BST, broadcast live via the ROH website from its world-famous Covent Garden home. A celebration of especially curated ballet and opera, the Live from Covent Garden concerts are the first live performances from the Royal Opera House since the building closed its doors to the public on 17 March. Join us behind the scenes as we open our theatre to a select group of musicians, artists and performers, direct from our house to your house. The third concert will be hosted by Katie Derham and The Royal Opera’s Music Director, Antonio Pappano, joined by soloists of the Orchestra of the Royal Opera House. Singers from the ROH Jette Parker Young Artists programme, will present work from George Frideric Handel, Gaetano Donizetti, Gioachino Rossini, Giuseppe Verdi, George Gershwin and more. The Jette Parker Young Artists will include Andrés Presno, Filipe Manu, Masabane Cecilia Rangwanasha, Stephanie Wake-Edwards, Patrick Milne and Edmund Whitehead, and Link Artist Blaise Malaba. First Soloists of The Royal Ballet Fumi Kaneko and Reece Clarke will perform the lyrical central pas de deux from Kenneth MacMillan’s Concerto. Created in 1966, Concerto is set to Shostakovich’s Piano Concerto no.2 in F. MacMillan was inspired to choreograph the concerto’s slow movement after observing Royal Ballet dancer Lynn Seymour warming up at the barre, resulting in a deeply romantic and atmospheric pas de deux. This will be the first time that Kaneko and Clarke have performed this duet together. Royal Ballet pianist Kate Shipway together with soloists of the Orchestra of the Royal Opera will accompany the dancers. Principal Matthew Ball and First Soloist Mayara Magri will perform a pas de deux from Royal Ballet Artistic Associate Christopher Wheeldon’s Within the Golden Hour. First created for San Francisco Ballet, Within the Golden Hour has been part of The Royal Ballet’s repertory since 2016 and was last performed by the Company as part of the 2018/19 Season. Music Director of The Royal Ballet Koen Kessels conducts. The concert on Saturday 27 June will be available to view live and on demand for 14 days via the Royal Opera House website for £4.99 per household. ROH also presents the next in the Friday Premiere series of free online broadcasts, with Wayne McGregor’s Woolf Works on Friday 26 June at 7pm BST. In 2015, Woolf Works was Resident Choreographer Wayne McGregor’s first full length work for The Royal Ballet, and received outstanding critical acclaim, going on to win the Critics’ Circle Award for Best Classical Choreography and the Olivier Award for Best New Dance Production. The triptych of ballets takes inspiration from Virginia Woolf’s Mrs Dalloway, Orlando and The Waves as well as her letters, essays and diaries. Guest Artist Alessandra Ferri returned to The Royal Ballet in 2015 to create the role of Woolf, for which she was awarded the Critics’ Circle National Dance Award for Best Female Dancer, as well as an Olivier Award for Outstanding Achievement in Dance. The ballet also features Sarah Lamb, Natalia Osipova, Akane Takada, Beatriz Stix-Brunell, Francesca Hayward, Federico Bonelli, Steven McRae, Edward Watson, Gary Avis, Tristan Dyer and Paul Kay. The Orchestra of the Royal Opera House is conducted by Music Director of The Royal Ballet Koen Kessels. The Royal Opera House’s Create and Learn series continues to offer free resources for families around the globe to explore the magical world of theatre from home. This week our virtual classroom invites children and young people to make their own Magic Flute, inspired by Mozart’s The Magic Flute, broadcast as part of the #OurHouseToYourHouse programme on Friday 19 June. Watch the trailer to find out how to make your own flute. Royal Opera House productions continue to shine on BBC channels. On Thursday 25 June at 2pm, Radio 3 will broadcast The Royal Opera’s performance of Tchaikovsky's Eugene Onegin (2013) with Krassimira Stoyanova as Tatyana, Simon Keenlyside as Eugene Onegin and the Orchestra of the Royal Opera House and the Royal Opera Chorus, conducted by Robin Ticciati. On Saturday 27 June at 5pm, BBC Radio 3 will broadcast The Royal Opera’s performance of Wagner’s Tristan und Isolde (2014) with Nina Stemme and Stephen Gould in the title roles. The Orchestra of the Royal Opera House and the Royal Opera Chorus are conducted by Antonio Pappano. Also currently available on BBC Sounds is The Royal Opera’s performances of Szymanowski's King Roger (2015) starring Mariusz Kwiecień. BBC iPlayer hosts Men at the Barre – Inside The Royal Ballet and Romeo and Juliet: Beyond Words. Men at the Barre is a new behind-the-scenes documentary by Director Richard Macer, showcasing the athleticism and lyricism of The Royal Ballet’s male dancers and offering a unique insight into the life of world-class, male dancers (available until 9am on Monday 22 June). Romeo and Juliet: Beyond Words is a creative reimagining of Kenneth MacMillan’s seminal ballet, featuring Royal Ballet dancers, and is directed by multiple award-winning Michael Nunn and William Trevitt of BalletBoyz. For more details of performances, dates and times, please visit our website or follow #OurHouseToYourHouse on the Royal Opera House’s social media channels. ENDS NOTES TO EDITORS Please find images available to download here. For more images, interviews and further information, please contact [email protected] Included in the programme for Live from Covent Garden Saturday 27 June* J.S. Bach: Second movement (Largo ma non tanto), Concerto for Two Violins in D minor, BWV 1043: I Vivace II Largo ma non tanto – Vasko Vassilev and Sergey Levitin (violins), Patrick Milne (harpsichord) G.F. Handel: ‘Where shall I fly?’ (Hercules) – Stephanie Wake-Edwards (Dejanira), Patrick Milne G. Rossini: ‘Ah! mi perdo mi confondo’ (L’Italiana in Algeri) – Blaise Malaba (Mustafa) and Filipe Manu (Lindoro), Edmund Whitehead F. Mendelssohn: Piano Trio in D minor, op.49, II Andante con moto tranquillo – Vasko Vassilev (violin), Christopher Vanderspar (cello), TBC Antonio Pappano (piano) G. Donizetti: ‘Una furtiva lagrima’ (L’elisir d’amore) – Filipe Manu (Nemorino), Patrick Milne and soloists of the Orchestra of the Royal Opera House A. Catalani: ‘Ebben? Ne andrò lontana‘ from La Wally – Masabane Cecilia Rangwanasha (Wally), Edmund Whitehead R. Leoncavallo: ‘Sei proprio tu che hai scritto ciò?’ (La bohème) – Stephanie Wake-Edwards (Musetta) and Filipe Manu (Marcello), Patrick Milne P. Sorazabal: ‘No puede ser’ (La tabernera del puerto) – Andrés Presno (Leandro), Antonio Pappano G. Gershwin ‘Summertime’ (Porgy and Bess) – Masabane Cecilia Rangwanasha (Bess), Antonio Pappano G. Gershwin ‘Bess, you is my woman now’ (Porgy and Bess) – Blaise Malaba (Porgy) and Masabane Cecilia Rangwanasha (Bess), Antonio Pappano G. Verdi: Brindisi ‘Libiamo ne’ lieti calici’ (La traviata) – Filipe Manu (Alfredo) and Company Kenneth MacMillan: Concerto, second movement pas de deux – Fumi Kaneko and Reece Clarke Christopher Wheeldon: Within the Golden Hour pas de deux – Mayara Magri and Matthew Ball *Correct as at Friday 19 June, some programming details may be subject to change. Live from Covent Garden (available on demand for 14 days): • Saturday 13 June, 7.30pm BST – free on ROH website, YouTube and Facebook • Saturday 20 June, 7.30pm BST – £4.99 per household on ROH website • Saturday 27 June, 7.30pm BST – £4.99 per household on ROH website Free ROH broadcasts (all available on demand for 14 days) include: • La Fille mal gardée, The Royal Ballet, 2005 – 12 June, 7pm BST • The Magic Flute, The Royal Opera, 2017 – 19 June, 7pm BST • Woolf Works, The Royal Ballet, 2017 – 26 June, 7pm BST • La bohème, The Royal Opera, 2017 – 3 July, 7pm BST Follow the Royal Opera House on social media: • Facebook • Twitter • YouTube • Instagram About The Royal Opera The Royal Opera, under the artistic direction of Antonio Pappano, Music Director, and Oliver Mears, Director of Opera, is one of the world’s leading opera companies. Based in the iconic Covent Garden theatre, it is renowned both for its outstanding performances of traditional opera and for commissioning new works by today’s leading opera composers, such as Harrison Birtwistle, Mark- Anthony Turnage and Thomas Adès. About The Royal Ballet Under the directorship of Kevin O’Hare, The Royal Ballet unites tradition and innovation in world-class performances, and is a driving force in the development of ballet as an art form. Based at the Royal Opera House, Covent Garden, it brings together today’s most dynamic and versatile dancers with a world-class orchestra and leading choreographers, composers, conductors, directors and creative teams to share awe-inspiring theatrical experiences with diverse audiences worldwide. The Company’s extensive repertory embraces 19th-century classics, the singular legacy of works by Founder Choreographer Frederick Ashton and Principal Choreographer Kenneth MacMillan and the compelling new canon of work including pieces by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon. About the Royal Opera House The Royal Opera House wants to give everyone access to exceptional ballet and opera. As The Royal Ballet, The Royal Opera and the Orchestra of the Royal Opera House, we bring together the world’s most extraordinary artists in more than 500 performances every year on our two stages.
Load more

Recommended publications
  • Copyright Marilyn J. La Vine © 2007 New York –
    Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening.
    [Show full text]
  • (With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
    11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the
    [Show full text]
  • The Annual 12 Night Party
    President: Vice President: No. 485 - December 2013 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Cutting the cake at the Vic-Wells’ 12th Night Party 2011 - Freddie Fox 2012 - Janie Dee 2013 - Clive Rowe ... but who will be there in 2014 to do this important operation? Why not come along and find out? As you can see, there is a very special cake made for the occasion and the guests certainly enjoy the ceremony. We make sure that everybody will get a slice to enjoy. Don’t be left out, book now! The Annual 12th Night Party Our annual Twelfth Night Party will be held at the Old Vic on Saturday, 4th January 2014 from 5.00pm to 6.30pm in the second circle bar area. Tickets are £6 for Members and £7.50 for Non-Members. Please write for tickets, enclosing a stamped, self-addressed envelope, to: Ruth Jeayes, 185 Honor Oak Road, London SE23 3RP (0208 699 2376) Stuttgart Ballet at Sadler’s Wells Report by Richard Reavill The Stuttgart Ballet is one of the world’s major international ballet companies, but it does not often visit the UK. It did make a short trip to Sadler’s Wells in November with two p r o g r a m m e s a n d f i v e performances over four days. The first one, Made in Germany, featured excerpts from works choreographed in Germany for t h e c o m p a n y . T h o u g h presented in three groups with two intervals, (like a triple bill), there were thirteen items, mostly pas-de-deux and solos, and only one piece, given last, for a larger group of dancers.
    [Show full text]
  • 93 the Cleopatra Ballerina Who Stays
    SUNDAY TELEGRAPH March 21 1993 The Cleopatra ballerina who stays out in the cold Photo: Matthew Ford In a rare interview the great ballerina Lynn Seymour tells Ismene Brown why she's so wary of public attention A LOT of typewriter ribbon has frayed on the subject of Lynn Seymour. She is 'the greatest dramatic dancer of the era', according to Dame Ninette de Valois. Yet when she joined English National Ballet in 1989, one dancer told a newspaper contemptuously, 'She teaches with a beer can in one hand and a cigarette in the other. Who needs that?' Her image has see-sawed wildly between genius and Bad Girl. Both sides of the image are fed with plenty of material: consistently awestruck reviews of her dancing - and a considerable amount of backstage bitchery about her weight problems. Or drink problems. Or temper problems. Or man problems. Or money problems. These in turn were said to explain her absences from the stage. Where Fonteyn and Sibley sailed through their careers like galleons - in public, at least - Seymour's ship was always taking in water. It is unsurprising, then, that over the years she has avoided the press like the plague. I hadn't realised quite how scarred she is by publicity - or at least by her own view of what her public image is - until I met her last week. She had refused interview requests for her own recent appearances with Scottish Ballet as Lady Capulet, and with Northern Ballet Theatre in A Simple Man, but she agreed to 'do it for Derek's thing' - Derek being the film director Derek Jarman, who asked her to play the Russian ballerina Lydia Lopokova in his new film, Wittgenstein.
    [Show full text]
  • Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
    edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
    [Show full text]
  • Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet
    Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet. The Work of Sir Frederick Ashton Sir Frederick Ashton, founder choreographer of The Royal Ballet, was a noted exponent of nineteenth-century music, especially ballet music. Consider his Les Rendezvous (1933, Daniel-François-Esprit Auber), Les Patineurs (1937, Giacomo Meyerbeer), and Birthday Offering (1956, Alexander Glazunov); then his two/three act ballets La Fille mal gardée (1960, mainly Ferdinand Hérold), Sylvia (1952, Léo Delibes), and The Two Pigeons (1961, André Messager); and finally the two dances to music fromLa Source(Delibes and Léon Minkus), training pieces for the Royal Academy of Dancing (rad) Solo Seal examinations (cir- ca 1956). Nearly all these ballets are to French ballet music for ballet-divertissements within, as well as independent from, opera. Yet we could add Ashton’s settings ofpassages from Peter Ilyich Tchaikovsky’s The Sleeping Beauty and Swan Lake, his series of ballets to scores by Franz Liszt, The Dream (1964) to incidental music for Shakespeare’s Midsummer Night’s Dream by Felix Mendelssohn that sounds as if composed for dance, and AMonth in the Country (1976) to Frédéric Chopin (based on the play by Turgenev) which, as we shall see later, has a number of links with nineteenth-century Paris. Month is set to three early Chopin scores for piano and orchestra that are full of dances and dance rhythms. (Ashton maintained a penchant for more recent French music too: he set Darius Milhaud, Paul Dukas, Erik Satie, Francis Poulenc, Claude Debussy and, on a number of occasions, Maurice Ravel.)1 Most of these ballets are well-known Ashton, amongst his finest work, and never lost from the repertory.
    [Show full text]
  • Narrative Aspects of Kenneth Macmillan's Ballet the Invitation
    DOCTORAL THESIS Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation de Lucas Olmos, Maria Cristina Award date: 2017 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation by Cristina de Lucas BA Law, BA English and Literature, MA Ballet Studies A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2016 To my father and to the memory of my mother, with love. ABSTRACT: The British choreographer Kenneth MacMillan (1929-1992) has a prominent place in the narrative tradition of the Royal Ballet. As a major storyteller in the history of the company, his ballets with intense, dramatic stories are an important part of the dance heritage of British ballet. This thesis focuses on one of MacMillan’s first narrative achievements, the one-act ballet The Invitation (1960), and studies the main thematic concerns and stylistic strategies that it deploys.
    [Show full text]
  • FVAD Brochure 2015
    FRASER VALLEY ACADEMY OF DANCE Artistic Director John C. Carney Students have an exceptional opportunity to be trained by an international staff of Fraser Valley Academy of Dance offers superior certified RAD & ISTD teachers and former dance training with specialized focus on professional dancers from: classical ballet, contemporary, modern and • English National Ballet tap. The results speak for themselves as students • Rambert Dance Company have been accepted into international full-time • Cairo National Opera professional programs including: • Princess Cruises • Atlantic Ballet Theatre • Canada’s National Ballet School • Royal Caribbean Cruise Lines • Royal Winnipeg Ballet School • Orlando Ballet • Joffrey Ballet School (New York City) • Kharkiv National Opera • School of Alberta Ballet • Celebrity Cruise Lines • Randolph Academy of Performing Arts (Toronto) • Ballet Theatre of Ukraine • Rambert School of Ballet and Contemporary Dance (London, England) as well as numerous prestigious summer programs and spring intensives. Classical Ballet School Pre-Professional Daily Academy Musical Theatre School (Ages 3 to Adult) FRASER VALLEY ACADEMY OF DANCE 33219 1st Ave, Mission BC V2V1G7 Canada Specialist Training in Classical Ballet T: +1 (604) 826-0097 Modern Theatre Dance, Tap and Contemporary Ballet [email protected] www.fvad.ca A CENTRE OF EXCELLENCE IN DANCE Photos by Lori Holden Photography, Alan Bailward Mission Chamber of Commerce Member of the UNESCO Photography, Fly in the Eye Photography, Rick McDonald Entrepreneurial Excellence Award International Council of Dance MR. JOHN C. CARNEY, ARTISTIC DIRECTOR Mr. Carney has been in the FRASER VALLEY ACADEMY OF DANCE dance world since 1965 when he began training at the Dorothy Stevens School of Dance. An RAD York Scholar, he obtained RAD Highly Commended Advanced (now Advanced 2) Certification.
    [Show full text]
  • Nicholas Georgiadis
    FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 NICHOLAS GEORGIADIS Nicholas Georgiadis was born in Athens, Greece and studied at the National Metsovian University before winning a Fulbright scholarship in 1952 to study at Columbia University, New York. The following year he moved to London to study stage design at the Slade School of Fine Art, where he later became a lecturer. His designs for ballet included MacMillan’s Danses Concertantes, House of Birds, Noctambules, Agon, The Burrow, The Invitation, Las Hermanas, Song of the Earth, Manon, Mayerling, Orpheus (for The Royal Ballet), Swan Lake (for the Berlin Opera House); Nureyev’s production of The Nutcracker and The Tempest (for The Royal Ballet and the Paris Opera Ballet), Swan Lake (Vienna State Opera House), The Sleeping Beauty (La Scala, Milan, National Ballet of Canada, Vienna State Opera and London Festival Ballet), Raymonda (American Ballet Theatre, Zurich Opera House and Paris Opera Ballet), Manfred (Zurich Opera House), Don Quixote (Zurich, Berlin and Paris Opera Houses, and International Ballet Festival, Boston); and Lynn Seymour’s Intimate Lovers (Sadler's Wells Royal Ballet). Georgiadis’s designs for Orpheus and The Tempest won him the London Evening Standard Ballet Award for the most outstanding achievement in 1982. His designs for opera included Aida and The Trojans (The Royal Opera); Medea (Frankfurt Opera House); Anna Bolena (Athens Opera House) and Don Giovanni (Athens Festival). His designs for plays include Lysistrata (Royal Count), Montherlant’s (more) GEORGIADIS – Page 2 La Reine Morte (Oxford Playhouse), Julius Caesar (Old Vic), Anthony and Cleopatra (Prospect Theatre Company), All for Love (Prospect), Captain Brassbound’s Conversion (Haymarket); and his costume designs for films include Euripides’s The Trojan Woman, and the reconstruction of the Ballets Russes designs for Nijinksy.
    [Show full text]
  • My Dance and the Ideal Body: Looking at Ballet Practice from the Inside Out, Research in Dance Education, 6(1-2), 25-40
    Published as: Jackson, J. (2005). My dance and the ideal body: looking at ballet practice from the inside out, Research in Dance Education, 6(1-2), 25-40. Available online at: http://dx.doi.org/10.1080/14617890500373089 My dance and the ideal body: looking at ballet practice from the inside out Jennifer Jackson, University of Surrey, Guildford, UK Abstract This paper argues for a change of thinking about the ‘ideal body’ in relation to ballet as a dance form and how it is studied. It distinguishes between spectator and practitioner perspectives on ballet, and draws on the practice of established dance artists and that of the author to write about the first- person experience—from the inside out. Using a balletic concept, en dehors/en dedans, as a metaphor, the discussion moves from looking at the outside product of the ballet inwards to look at the inside processes or practice. The impact of the spectator perspective on the characterization of practice is considered, raising questions about the construction of binaries such as free/rule bound and the perception of the body and form as fixed. A case is made for ballet study as a somatic practice, and how engaging the first-person experience and perspective on the body allows the individual dancer to develop as both artist and technician. I sat on an audition panel in July 2004 with a colleague whose career in the Royal Ballet had overlapped with mine. We were selecting dancers who showed potential for pre-vocational training in ballet and, prior to the auditions, we shared our concerns about the state of the art, the emphasis on bodily potential for training and athletic over artistic achievement, and a cultural context where the ‘ideal body’ as image is a powerful influence.
    [Show full text]
  • MARCH 30 | 7:30 PM the Kaye Playhouse at Hunter College | New York
    MARCH 30 | 7:30 PM The Kaye Playhouse at Hunter College | New York Tears of the Moon Trois Voix (three voices) Airs Choreography | Kirk Peterson Choreography | Mary Barton Choreography | Paul Taylor Music | Beethoven Music | Poulenc Music | Handel This program is made possible in part by funds from the New Jersey State Council on the Arts, a Partner Agency of the National Endowment for the Arts. Proud to support the American Repertory Ballet ©2015 Bloomberg L.P. All rights reserved. S619816840 0815©2015 Bloomberg L.P. arballet.org | 11 Julie Diana Hench Douglas Martin Aydmara Cabrera Audrée Estey Executive Director Artistic Director School Director Founder The Company Douglas Martin | Artistic Director Mary Barton | Resident Choreographer/Ballet Master Kirk Peterson | Resident Choreographer Tanner Bleck Ruben Rascon Daniel Cooke Erikka Reenstierna-Cates Shaye Firer Ryoko Tanaka Annie Johnson Marie Tender Aldeir Monteiro Journy Wilkes-Davis Emily Parker Nanako Yamamoto ARB2 Greta Battistin, Jonathan Montepara, Moeno Oba, Matanya Solomon, Jorge Urbina, Nina Yoshida Apprentices | Kirara Fuse, Zoya Pavlovsky, Hallie Rumsey-Lasersohn, Elisabeth White, Haley Wright Trainees Sahsha Amaut, Amelia Aroneo, BreAriel Bennett, Kennedy Curtis, Coral Dennison, Madeleine Douglas, Madison Elizabeth, Sydney Faber, Isabela Ferreira, Isabella Fernandes, Paige Finlay, Emma Lissette, Yeonji Heo, Yi-Hsuan Huang, Amanda Hwang, Noe Iwamatsu, Althea Johnson-Staub, Hannah Lipman, Ruixue Monica Lu, Julia Mayer, Grace McCann, Anna McDowell, Lydia Alyse Miller, Ana
    [Show full text]
  • Copyright Marilyn J. La Vine © 2007 New York –
    Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. March 11, 1960 LA BAYADERE Solor With: Olga Moiseeva; Ninel Kurgapkina C: Petipa/Chabukiani M: Minkus April 14,1960 LA BAYADERE Solor With: Olga Moiseeva; Liubov Voishnis C: Petipa/Chabukiani M: Minkus May 8,1960 THE SLEEPING BEAUTY Bluebird With: Alla Sizova C: Petipa M:Tchaikovsky May 11, 1960 RAYMONDA Hungarian Pas de quatre With: Oleg Sokolov, Gennady Seliutsky, Yuri Soloviev C: Petipa M: Glazunov May 19,1960 RAYMONDA Hungarian Pas de quatre With: Oleg Sokolov, Vassily Ivanov, Sergei Vikulov C: Petipa M: Glazunov May 27,1960 DON QUIXOTE Basilio With: Ninel Kurgapkina C: Petipa/Gorsky M: Minkus June 1, 1960 SWAN LAKE Pas de trois Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role With: Nina Yastrebova, Tatiana Legat C: Petipa M: Tchaikovsky BULGANIN'S VILLA OUTSIDE OF MOSCOW June 1960 DON QUIXOTE Nureyev invited to dance before Nikita Adagio and coda Khrushchev With: Ninel Kurgapkina C: Petipa M: Tchaikovsky June 18,1960 THE NUTCRACKER Adagio With: Marina Cherednichenko C: Vainonen M: Tchaikovsky June 26,1960 DON QUIXOTE Basilio With: Ninel Kurgapkina C: Petipa/Gorsky M: Minkus June 30,1960 GISELLE Count Albrecht With: Alla Shelest, Ninel Kurgapkina C: Petipa after Coralli & Perrot M: Adam June 1960 MOSZKOVSKY WALTZ With: Alla Sizova C: Vainonen/Messerer M: Moszkovsky July 3, 1960 GISELLE Count Albrecht With: Alla Shelest; Nina Sakhnovskaya C: Petipa after Coralli & Perrot M: Adam July 7, 1960 SWAN LAKE Copyright Marilyn J.
    [Show full text]